Search

As the Young Canada Works Collections Management Officer here at the MIA, I started my summer off with a group of works – mostly stone sculpture – acquired by the museum in 2013. I have always been interested in different materials used in the production of objects and Inuit art is no exception. So, from day one, I’m sure I sounded like a broken record: “Alysa, what kind of stone is this?” Until finally, I began to recognize the vibrant greens of the serpentinite of a Toonoo Sharky, RCA and the bold black basalt in Barnabus Arnasungaaq’s work.

Soon after I familiarized myself with the stone, I was thrown a curve-ball when I was tasked with cataloging and condition reporting Untitled [Faces (Bone on Bone)] by Manasie Akpaliapik. I found this carving absolutely striking not only in the way the artist has created an eerily lifelike face but because it was a completely new medium to me: ossified whalebone.

My face during the entire experience.

Ossified whalebone is bone from whales that has been dried out over time making it a viable medium for carvings (prior to my time, someone very eloquently explained the process of whalebone carving on this very blog so I won’t go into great detail here). I have worked with bone before, both animal and human(!), but never whalebone! This medium has the same bubbly-spongy look to it as a lot of other bone but only whale-sized! I was entranced by its texture and managed to find a magnifying glass so I could get an even closer look! For what felt like a long time I was lost in the microcosm of the whalebone. When I returned to reality, I finished cataloging and condition reporting the piece. As Collections Management Officer I am required to take detailed photos of each piece and these definitely turned out to be some of my favourites!

Barnabus Arnasungaaq’s (1924-) is an Inuit artist from Qamani’tuaq (Baker Lake). Barnabus’s works have been a major influence and contribution to Inuit art from Qamani’tuaq since the 1960s. He has a diverse repertoire of exceptional sculptures; however his muskox sculptures at the Museum of Inuit Art are some of my personal favourites, and are also very popular with visitors. His ability to capture the essence of his subject in a beautifully fluid style appeals to the viewer’s senses, and often makes them want to touch the art work.

Figure 1: Barnabus Arnasungaaq’s (1924-) “Musk Ox” (c. 1970s)

Figure 2: Barnabus Arnasungaaq’s (1924-) “Musk Ox” (1977)

The type of stone available to carve in Qamani’tuaq is a hard stone, which is very difficult to shape and to carve detailing into. The limitations of working with such a stone has certainly contributed to the style of the region, and to Barnabus’s personal expression. His figures are heavy-set, rounded, and slightly abstract in design.

He captures the characteristics and mannerisms of the musxox by amplifying its features, such as the heavy rounded coat of the muskox in Figure 1 and the arched shoulders of the muskox in Figure 2. Muskoxen are a popular subject with carvers in the region, along with figures of hunters and animal-human transformations.

Muskoxen in the wild (c) Alastair Knock, used under Creative Commons license.

Come to the museum to take a look at some other works by Barnabus Arnasungaaq!

– Posted By Emma Ward, MIA’s Visitor Services Officer

Rate this:

Note

Thank you for visiting the Museum of Inuit Art Blog. Please note that with the closure of the MIA in May 2016 this blog will no longer be monitored. Please feel free to use the provided content for educational and personal use.